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Sensory Language Flipbook PDF
Sensory Language
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unit 4
Text Analysis Workshop
Sensory Language, Imagery, and Style Every story has its own unmistakable personality—one that you respond to positively or negatively. Here, you’ll learn about the elements that make up a story’s personality. These elements are sensory language, imagery, and style.
Part 1: Imagery and Sensory Language—Words That Create Pictures Included in this workshop: RL 4 Determine the meaning of words and phrases as they are used in a text, including figurative and connotative meanings; analyze the impact of a specific word choice on meaning and tone.
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To help readers share their experiences of the world, writers create images. Imagery is language that creates pictures. An image is a single word or phrase that appeals to our senses. Writers hope their images will unlock storehouses of memory and stir our imaginations. They hope their images will make us say “Oh, yes, I see what you mean.” Writers use sensory language to describe things they’ve experienced or imagined. Sensory language and imagery are part of a writer’s style. They represent the writer’s own way of seeing the world. An image or description can be so fresh, so powerful that it can speak to our deepest feelings. It can be phrased in a way that it makes us feel joy or grief, wonder or horror, love or disgust. Take a close look at the imagery and sensory language in the examples below. Which of your senses do they appeal to?
IMAGERY
SENSORY LANGUAGE
Imagery is language that appeals to the senses.
Sensory language is the words writers use to create images.
Example: Vivid Imagery Vivid imagery helps us see, smell, and feel the scene. The highlighted phrases help put you right in the midst of the field.
Example: Sensory Language Paulsen’s descriptive words make fun of his clumsiness and help you see what kind of carpenter he was.
They were standing in a sunlit field, and the air about them was moving with the delicious fragrance that comes only on the rarest of spring days when the sun’s touch is gentle . . . —from A Wrinkle in Time by Madeleine L’Engle
. . . I worked in construction, mostly hitting my fingers with a hammer and making serious attempts at cutting something off my body with power saws while I tried to build houses. . . . —from My Life in Dog Years by Gary Paulsen
unit 4: sensory language, imagery, and style
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model 1: imagery In his memoir, author Jerry Spinelli shares his memories of growing up in Pennsylvania. Read on to find out what Spinelli remembers about one important subject—his family’s garbage can! from
Knots in My Memoir by Jerry Spinelli
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To lift the lid off the garbage can was to confront all the horrors of the creepiest movie: dead, rotting matter; teeming colonies of pale, slimy creeping things; and a stench that could be survived only in the smallest whiffs. Ironically, the garbage can was never more disgusting than the day after garbage collection—for the collection was never quite complete. The garbage man would snatch the can from our curbside and overturn it into the garbage truck’s unspeakable trough. He would bang it once, maybe twice, against the trough wall. This would dislodge most of the garbage, including a rain of maggots, but not the worst of it, not the very bottom of it, the most persistent, the oldest, the rottenest, the vilest.
Close Read 1. Many details, including the one in the box, help you to see or smell the garbage. Identify three other images. 2. Review the imagery in this description of a garbage can. Which senses does Spinelli appeal to?
model 2: sensory language A young Chinese immigrant named Moon Shadow comes to San Francisco to join his father. Shortly after Moon Shadow arrives, he follows his father on a mysterious nighttime mission. As you read, notice the sensory language used to describe the setting. from
Close Read
Dragonwings Novel by Laurence Yep
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I counted to ten before I followed him outside. It was a night when the thick fog drifted through the streets and I could not see more than an arm’s length before me, and everything seemed unreal, as if I were asleep and dreaming. The gaslights showed in the fog only as dull spots of light—like ghosts hovering. A building would appear out of the grayness and then disappear. The whole world seemed to have become unglued. If ever there was a night for monsters to be out, this was the night.
1. The boxed detail helps readers to picture the nighttime setting. Find three more sensory details that describe the setting. 2. Review the sensory details you found. If you were painting a picture of this setting which details would you include?
text analysis workshop
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Part 2: What Is Style? You’ve seen how sensory language and imagery can affect your reaction to a story. Style, though, is what really gives a story its one-of-a-kind personality. Style refers to a writer’s unique way of communicating ideas. It is the result of many literary elements and devices, including word choice, sentence structure, imagery, point of view, tone, and voice. You’ll learn about some of these elements as you examine two excerpts by authors with different styles.
e. l. konigsburg’s style
jean craighead george’s style
ke Claudia and Jamie awoke very early the next morning. It was still dark. Their stomachs felt like tubes of toothpaste that had been all squeezed out. Giant economy-sized tubes. They had to be out of bed and out of sight before the museum staff came on duty. —from From the Mixed-up Files of Mrs. Basil E. Frankweiler
Miyax pushed back the hood of her sealskin parka and looked at the Arctic sun. It was a yellow disc in a lime-green sky, the colors of six o’clock in the evening and the time when the wolves awoke. Quietly she put down her cooking pot and crept to the top of a dome-shaped frost heave, one of the many earth buckles that rise and fall in the crackling cold . . . —from Julie of the Wolves
word choice
sentence structure
imagery
Word choice, or a writer’s use of language, is a basic element of style.
Sentence structure refers to the lengths and types of sentences a writer uses.
• Konigsburg: Uses casual, informal language like giant and squeezed out.
• Konigsburg: Writes in short, simple sentences, creating a straightforward style.
Some writers are known for their use of imagery, language that appeals to readers’ senses.
• George: Uses precise, descriptive adjectives, such as lime-green and dome-shaped.
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• George: Uses longer, complex sentences that are packed with descriptions.
• Konigsburg: Includes a humorous image— stomachs like tubes of toothpaste. This creates a playful style. • George: Uses vivid images like yellow disc in a limegreen sky.
unit 4: sensory language, imagery, and style
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Text Analysis Workshop
model 1: comparing styles Buried riches, greedy pirates, and wild adventures are all part of Robert Louis Stevenson’s novel Treasure Island. In this excerpt, a boy and his mother open a sea chest that once belonged to a ship captain. An evil blind man is in pursuit of the chest. As you read, you’ll examine the elements that help to create Stevenson’s dramatic and formal style. from
reasure Island
Novel by Robert Louis Stevenson
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When we were about half-way through, I suddenly put my hand upon her arm; for I had heard in the silent, frosty air, a sound that brought my heart into my mouth—the tap-tapping of the blind man’s stick upon the frozen road. It drew nearer and nearer, while we sat holding our breath. Then it struck sharp on the inn door, and then we could hear the handle being turned, and the bolt rattling as the wretched being tried to enter; and then there was a long time of silence both within and without.
Close Read 1. One element of Stevenson’s style is his use of sensory language and imagery. Find three images that help you to hear what’s happening. One example has been boxed. 2. Would you describe Stevenson’s sentences as short and simple or as long and complex? Support your answer.
model 2: comparing styles The characters in this modern story are also startled by a sound at their door. As you read, you’ll look closely at the elements that make Bruce Coville’s style lighter and more informal than Stevenson’s. from
Duffy’sJacket
Short story by Bruce Coville
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“There’s something at the door,” I said frantically. “Maybe it’s been lurking around all day, waiting for our mothers to leave. Maybe it’s been waiting for years for someone to come back here.” Scratch, scratch. “I don’t believe it,” said Duffy. “It’s just the wind moving a branch. I’ll prove it.” He got up and headed for the door. But he didn’t open it. Instead he peeked through the window next to it. When he turned back, his eyes looked as big as the hard-boiled eggs we had eaten for supper.
Close Read 1. How do the boxed sentences compare with the sentences in Treasure Island? 2. Informal dialogue is one element of Coville’s style. Reread the dialogue in lines 1–6. Which words or phrases make this sound like an everyday conversation?
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Part 3: Analyze the Text Now, you’ll apply what you’ve learned by analyzing two excerpts. Both excerpts describe summer days, but they are strikingly different. Read on to see how sensory language, imagery, and style help to create these differences. The first excerpt is from the beginning of the novel Tuck Everlasting. Don’t worry if you don’t know exactly what’s happening. This is an intentional choice by the author, and it’s meant to draw you into the story. from
Tuck Novel by Natalie Babbitt
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The first week of August hangs at the very top of summer, the top of the live-long year, like the highest seat of a Ferris wheel when it pauses in its turning. The weeks that come before are only a climb from balmy spring, and those that follow a drop to the chill of autumn, but the first week of August is motionless, and hot. It is curiously silent, too, with blank white dawns and glaring noons, and sunsets smeared with too much color. Often at night there is lightning, but it quivers all alone. There is no thunder, no relieving rain. These are strange and breathless days, the dog days, when people are led to do things they are sure to be sorry for after. One day at that time, not so very long ago, three things happened and at first there appeared to be no connection between them. At dawn, Mae Tuck set out on her horse for the wood at the edge of the village of Treegap. She was going there, as she did once every ten years, to meet her two sons, Miles and Jesse. At noontime, Winnie Foster, whose family owned the Treegap wood, lost her patience at last and decided to think about running away. And at sunset a stranger appeared at the Fosters’ gate. He was looking for someone, but he didn’t say who. No connection, you would agree. But things can come together in strange ways. The wood was at the center, the hub of the wheel. All wheels must have a hub. A Ferris wheel has one, as the sun is the hub of the wheeling calendar. Fixed points they are, and best left undisturbed, for without them, nothing holds together. But sometimes people find this out too late.
Close Read 1. One aspect of Babbitt’s style is her use of colorful imagery. What images in lines 1–10 tell you what the first week of August is like? To which senses do these images appeal?
2. The writer’s style might be described as both conversational and secretive. What words and phrases in lines 11–12 and 20–25 contribute to this style?
3. Reread the boxed detail, in which the narrator delivers a strange warning. Also review the images you found in lines 1–10. Which other examples of sensory language and imagery in the excerpt reinforce this strange warning?
unit 4: sensory language, imagery, and style
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Text Analysis Workshop
The summer days that Jewell Parker Rhodes describes in “Block Party” are ones that she herself experienced as a child. As you read this excerpt, you’ll analyze some of the elements that make Rhodes’s description so different from Babbitt’s. from
block party
Memoir by Jewell Parker Rhodes
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Summer block parties were the best. We’d close off traffic and sometimes the Fire Department would open the hydrants and we’d dance and sing while water gushed at us. A spray of wet beneath the moon and stars. Tonie, Aleta, and I pushed boxes together to make a stage and lipsynched to the record player, pretending we were The Supremes. “Stop, in the name of love! Before you break my heart. Think it o-o-over! . . .” and we’d giggle as the grown-ups clapped and the other children squealed, and everyone danced, even fat Charlie who could boogie so well you’d swear there was magic in his shoes. The best block parties happened for no reason. Anyone—even a child—could wake up one day and call for “Block Party Day.” And we’d share ribs, corn, chicken, tater pie, and collard greens, and Miss Sarah who never married always made punch with vanilla ice cream and it would melt into a swishy mess. Finally, when legs wouldn’t move another dance step, then the record player was taken away, the street was swept. There were cries and whispers of good night. My real family and I, we’d go into the house. Grandma, Grandpa, Aunt, and Daddy would tuck us in bed and kiss me, Tonie, and Aleta good night. And I would wait until Tonie and Aleta were asleep in the small twin beds (I didn’t want them to think I was off my head) and I’d go to the window. Then, peeking over the ledge, I’d whisper my own private “G’night” to the rest of my family, tucked in their beds inside the tall houses all along my street, there in the city where the three rivers meet.
Close Read 1. What images in lines 1–14 help to establish the joyful mood of the summer scene?
2. Reread the boxed text. Notice that Rhodes packs many thoughts into one long sentence, using a series of and’s. Identify another sentence that reflects this style.
3. Words like G’night in line 21 help to create a conversational style. Find two other informal words or phrases.
4. How would you describe Rhodes’s feelings about block parties? Use examples of her sensory language and imagery to support your response.
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